Providence

This is one of the strangest movies I know. French intellectual aesthete meets contemporary British playwright - this should be the title of Providence. When two completely different cultures meet for a common project, the risk of failure is enormous. But in this case something interestingly and uniquely hilarious was created. Providence is a feverish dream that was successfully created for the screen.

The dream sequences of an old, dying writer, played by John Gielgud are absurd in a very British way. John Gielguds's upper class "king's English" voice-over adds effectively to its strangeness. As usual in contemporary British plays, sex and bowel movements are of the utmost importance . no, the script as a whole is neither very original nor particularly funny. I liked the incongruous, illogical situations though. Every now and then, in the most impossible situations, a strange, sickly looking football player (he seems to have fallen off Monty Python's Flying Circus) jogs limply past.

Director Alain Resnais is responsible for the dreamscapes, and they make Providence worth watching. Real settings are artfully distorted into haunting, surreal spatial sequences. Foreground and background, light and darkness, different textures and beautiful color arrangements are expertly arranged into a world of its own that is never too far from reality. One is sometimes reminded of Magritte's surrealistic paintings. Strange sounds add to the almost psychedelic effect the dream scenes have.

The acting is remarkable, especially Dirk Bogarde as the writer's slick, cynical «dream son» gives an outstanding performance.

Don't be put off by what people (including lovers of the film) say about its initially being confusing. Even the first time through, it is madly enjoyable second by second, and it needn't take long to figure out what is going on. In fact, once you know that we are into a dying man's dreams/fantasies/wishes regarding his own family, you have all you need to make sense of virtually everything straight off. By the end, everything has locked into place in a most satisfying way. The contrast between the man's dreams about his family and what you see when they appear in person near the end is one of the most delicious things in the whole of art.

Not enough can truly be said for this film. Equally, nothing can change people's reaction to it; it is an art piece which separates people. Early reviews from the period of its release seem unfriendly at least. Many reviewers found the film pretentious and constructionally difficult. Many claimed it attempted more mystery than it had a right to. I feel this was a film ahead of its time, and any pomposity in the film comes not from its center, but from its central character, Clive Langham (John Gielgud). This, more than almost any film of the 20th century, is a film which rewards the viewer for multiple viewings. If you are often accused of being obsessive, overly-analytic or just plain artsy, this film will tickle you in some very personal places. The message I will refuse to comment on, though it is very deeply personal to me, and, I would say, to all writers. But the "crux of the biscuit," if you will, is this: examine the title in relation to the film.

I saw this film at release and have seen it several times since and this motion picture still holds up, a seemingly complex story that unravels steadily

throughout the film. Resnais uses every dramatic device available to tell what becomes a moving and tender portrait, not least visual puns, particularly a

sequence where Dirk Bogarde drives across "town", in which a very simple

montage predates digital morphing as seen in current commercials, smoothly

linked through the activity of the character. All good Resnais films include an examination of the minds of his characters and this is a superb twist-and-turn reality that involves us completely. The acting of course is flawless and includes a wonderful pairing of the great Elaine Stritch and Ellen Burstyn. David Warner, a personal favorite, is actually given the opportunity to act and steps up to the plate and compliments Dirk Bogarde's cool and wooden portrait. I regularly look for this release on DVD and am consistently disappointed. Could someone

publish it soon?

In Providence, his only film in English Language, Resnais again approaches the most recurrent subject in his career: the memory. Here, he explores how one's feelings can affect it: the life of the writer reflects directly on his view of his son and the wife of this one, and their respective (supposed) lovers, which actually are a representation of the writer's alienation, guilt and self-depreciation. It shows how memory can be more painful than any pain of the flesh, and even worse than reality itself. Like everything i've seen from Resnais so far (Night and Fog, Hiroshima Mon Amour, Mon Oncle D'Amérique and one of my favorite films, Last Year in Marienbad), this one is a very deep and original masterpiece.